They Make Music

BE

Moncef Belyamani — Sat, 11 May 2013 13:35:14 +0000

Who are you and what do you do? How long have you been a working musician?

Hello, my name is Garth Be and I do many things as well as produce music. I record under the name BE, which makes finding my music online a lot of fun. I've been experimenting with sound for as long as I can remember and I absolutely love it. I've released tracks with Still Music, Wolf Music, Prime Numbers, Neroli and Development. I have a release scheduled for the 1st of April on Huddtraxx.

What is your educational background? Are there any schools, courses, or books you recommend?

I'm mainly self taught. Kevin Edwards taught me to play drums in school and my grandad introduced me to his organ when I was a kid. That sounds a bit wrong. He was a lovely man. The organ, not his organ. All of the software, equipment and techniques I use have been learned through spending time experimenting. I tend to consult manuals if I'm really struggling and usually prefer to get stuck in to see what happens. I own one book by Rick Snoman called Dance Music Manual: Tools, Toys, and Techniques. I intended to read it when I got it but I haven't yet. I recommend that you do. I'm quite impatient so I'd rather get straight into making music than read about making music. I'm sure I'd learn a lot if I spent more time studying production and the processes involved in making music but I seem to be driven more towards the emotional and spiritual side of expression through music. It's been a constant aspect of my life and I use it to create environments that provide me with an alternative to whatever's going on in my day-to-day life.

What hardware are you using?

I currently have an MPC2000XL, a MOTU 828 mkII, a Roland MC-303, a Roland TR-606, a Nord Rack 2, a Roland D-110 LA Synth rack and a Kawai K1. I prefer racks as they take up less space. The Nord sounds amazing. The other two synths are new to me so I can't tell you what I like most about them. The D-110 seems a bit difficult to program, so I reckon I'll have to consult the manual. The 303 was the first piece of kit I ever got when I was about 14. To this day I love step-programming drums. The limitations came when I wanted to sample other sounds to build rhythms, but for anyone who enjoys beats, I'd recommend the MC-303 as a good, well-priced starting point. The MPC is amazing for building drums and tracks. I find that the interface abstracts the process of producing music more so than, say, a 303, which uses a piano-like input of 16 keys. The MPC's just got a square of small, rubbery grey squares. It's very tactile which encourages you to literally bang out the beats. Each pad is large enough for you to be quite loose with your technique. The pads are velocity sensitive, the quantize is fun to use and the note repeat function opens up rhythms you might not necessarily go straight to, at the push of a button. Depending on which OS you're using, the process of sampling and slicing and assigning can seem laborious in comparison to some software samplers, but it's worth it. It has audio outs too, which is nice.

What software are you using?

I use Logic 5.5 on a PC. I use Battery, Albino, Absynth, PPG Wave 2, Luxonix LFX-1310, and a few others. If I'm not using the MPC when I'm sampling, I manipulate samples in Logic's EXS24. I love how easy it easy to drop a .rex2 file in and play around with slices of sound. Yeah, I forgot that one, I use ReCycle 2.0. And Sound Forge 8. I've used software for a few years but want to explore hardware more and more. There is a definite difference in the sound of the soft-synths I use and the hardware I've used, but the main reason I'm making the shift is because of the interaction aspect of hardware. It's tactile. And it's something I'd like to learn more about.

What would be your dream setup?

I can do everything I want to with the setup I have. If it was on the top floor of a skyscraper in New York or in some Amazonian tree house then yeah, dream setup.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I usually start with a beat. Or a sample. Then everything comes from there. I'll usually arrange at the end. Sometimes on the fly. I'm a firm believer that music, or expression, is something which is valid as soon as it's acted out. Structure and arrangement are important if what you're trying to achieve is structure and arrangement. If the act of expression is your primary focus then anything you express is essentially accomplishment. If what you create stimulates your own mind and arouses positive feelings and emotions then I think it's important to focus on those feelings. You might not end up finishing tracks but you'll have some great sources of inspiration to revisit. You might feel that they're complete when others don't feel the same. In that case, follow your instinct.

Where do you shop for and discover music?

Piccadilly Records, King Bee, Wowie Zowie, Vinyl Exchange, E-Bloc, Boomkat - these are all on my doorstep and all offer a wide variety of old and new music. I also use Discogs, probably too much but definitely never enough!

Any highlights from your latest musical discoveries?

I've been getting into New Breed of Hustlas lately. Some 90's I missed out on when my step-sister and her mates were into G-Funk but enjoying now. I've got a few of Dexter Wansel's records but have started to explore his work in more depth. Heavy vibes.

What's brewing in your studio?

A storm. Tea. IPA. Dunno really. I've got some new gear that I want to learn. I recently moved so there's stuff everywhere. I installed some pretty ropey shelves on Friday, so now I've got somewhere to put my decks and equipment. We'll see what happens next. As for music, there's plenty of old tracks on my SoundCloud page [see link below], but for everyone who hasn't listened yet they'll be brand new. The new new will be out on my label in the next month or so... or so... or so... (repeat to fade).

Any production tips & tricks you'd like to share?

Don't compromise what you feel strongly about. If the music you make doesn't appeal to a certain label or listener don't let it get you down. The world's full of people. Some of those people will find what you do as exciting as you do. The fun part is finding how to reach them and share your sounds. Don't be put off by people talking about how the music industry is dead and there's no point starting a label. If you believe in what you do, stay true, follow it through and make it work.

Sid Le Rock

Moncef Belyamani — Sat, 11 May 2013 02:29:55 +0000

Who are you and what do you do? How long have you been a working musician?

Hello, I'm Sid Le Rock and I've been producing music since 1998.

What is your educational background? Are there any schools, courses, or books you recommend?

I have an educational background in Music Engineering & Music Management from Harris Institute in Toronto, Canada.

What hardware are you using?

For the album, I used my MicroKorg to create some of the bass lines and arpeggiated synths . Great, simple to function digital keyboard with an analogue sound to it. As they were only collecting dust, I convinced my friend to allow me to make use of his JUNO-106 and Poly-800 synthesizers for creating lush pads and layered sound scapes. All combined, they were all the extra ingredients I needed to add warmth for the end product. For multi sequencing & effect sends assignments, Akai's MPD24 was an essential piece in my studio for real time control. Both Digitech's Vocal 300 & Korg's Kaoss Pad were amazing pieces for my vocal tracks. With its multi effects, the Vocal 300 was what helped most by adding depth & warmth to my voice. A fantastic part of my gear collection for the studio or on tour, as it can be placed on the floor when space isn't available. Finally, the Mackie 1402-VLZ Pro Mixer combined with my Genelec 8030a Nearfield Speakers & the Yamaha HS10W subwoofers, all gave me the quality & clarity of sound that I most depend on.

What software are you using?

Mainly I used Ableton 8 for building & arranging the tracks. Then I exported all my stem works to Logic for pre-master mix down. Waves Diamond Bundle played an immense role in shaping its quality of sound.

What would be your dream setup?

A while back, my studio was broken into on two separate occasions. Meaningful to my early beginnings in producing music, I would simply love to replace what was once painfully taken from me. So with that, I would have to say that my dream set up would have to be my old Oberheim Matrix 12 and Sequential Circuits Prophet 5. But most importantly, the Yamaha AN1x which my father had bought for me as my first keyboard.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Usually my best time for creativity is in the evening, when everything slows down. But as of late, I've conditioned myself to working days where I turn off all social interruptions. There's no struggle with keeping routine. Only problem I face is finding a routine with the creative process.

Where do you shop for and discover music?

Usually I find that I'm most open to discovering music when I'm out gigging at some club. Other times when friends recommend something or as an A & R for my label, Beachcoma Recordings.

Any highlights from your latest musical discoveries?

There are a lot of amazing discoveries just waiting to be heard. Particularly now, I'm personally pleased with how musicians today are incorporating all forms of musical medium, genres and new technologies. A great example of this comes from My Favorite Robots label mate & pal, Fairmont. As we both worked under the same roof while completing our own albums, I picked up some useful studio techniques from him. Apart from that, I mainly draw my inspiration from indie music. Bands like Ween that experimented with overdubs and 4 track home recordings, to the simple but extremely effective music produced by AC/DC.

What's brewing in your studio?

Now that I've completed my Sid Le Rock album, "Busted With a Bag of Bliss", I'm left with a feeling of post album depression. As relieved as I was when I finished it, I kinda miss the ups & downs of working on a big creative project. Like an old man that was forced into retirement...sort of ;) But, I do enjoy the time away to contemplate on my next future creations.

Any production tips & tricks you'd like to share?

Sound proofing your studio can make you insane. Just get to know what you're using, and use it well. Your ears will help you navigate through the rest for a satisfactory result.

Xinobi

Moncef Belyamani — Thu, 25 Apr 2013 13:00:54 +0000

Who are you and what do you do? How long have you been a working musician?

Hey, I'm Bruno, I'm mostly a musician and a record label manager. I've been doing this for about 8 years now, when I stopped looking for a more "regular" job.

What is your educational background? Are there any schools, courses, or books you recommend?

I've studied Fine Arts in Lisbon. I wouldn't recommend the University I've attended because, as far as I know, it's been losing more and more its credit. However, I must I recommend to try and make a career on one you do like to do the most. Fulfill your dreams should be the goal of your life. Make sure you don't disappoint your own. Books, so many. I used to read more. Foucault, Paul Virilio, Gilles Lipovetsk. Some changed my perspective on life, such as Guy Debord's "Society of the Spectacle”. I have to start reading compulsively again.

What hardware are you using?

As hardware instruments I mostly use guitars and bass guitars. I might steal some synth from Moullinex, with whom I share the studio, but please don't tell him. We have this really nice Frontliner pre-amp through where we record most of instruments and vocals. It really makes guitars and vocals sound amazing. Also, this Moog 10 band graphic equalizer can give your soft-synth lines the real analog edge that’s so hard to get producing only in the box.

What software are you using?

Ableton Live is now my main DAW. I use it with some Arturia soft-synths and u-he Ace. My favorite soft synth is Arturia’s Moog Modular. It has outstanding sound results and endless options. It might be tricky to use sometimes but there are some really nice presets to start with. You can go from super low bass sound to really high freqs. I also color and crisp my sound with the help of SoundToys and PSP Audioware plugins such as the Vintage Warmer. In the past I was a Propellerhead Reason freak but nowadays I'm using Reason only to do some beats. I still find it superb for drum creativity with Redrum and Kong. I might explore Reason again with this new version that finally supports external-midi and because I miss a lot its arpeggiator. I love FabFilter equalizer. It’s a top notch platform to do EQ surgery. You can go really picky on EQ with this one.

What is your favorite or most essential piece in your studio?

A Gibson SG that appears flying in my last video clip. That’s the way I take care of my most essential and important instrument. I also can’t live without my Urbanears Zinken headphones. Or the Sennheiser HD25. Still deciding which ones I like most.

What would be your dream setup?

I think I never thought about a dream setup. I used to have a big desire for guitars. If I could pick some guitars I would love to have, I would get something like twenty. One thing I would love: A free-of-cable studio. Everything should be Wi-Fi-ish. Yes, this would be part of my dream setup for sure.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I normally work at night. I believe most of my best ideas were born in a period from midnight to 2 a.m. And they have to be developed right after so it’s really normal to only get to bed at 6 a.m. I normally start with some simple guitar riff even if in the end I throw it away. Guitar is the instrument I play the best, so... After that, there's a little bit of random-ish actions till I find something I like enough to go through and try to work it as a track. Normally I add a kick, a snare and create a bass line. Routine might be good to discipline your work but it can also castrate your creative process.

Where do you shop for and discover music?

SoundCloud has become one of my first places to go and find new music. I also spend a lot of time and money on Beatport. I mainly buy Vinyl records and Mp3/Wav. I kind of gave up on the CD thing. Vinyl I like to buy in local stores. I might get some online too, through platforms such as discogs.com, juno.co.uk or Ebay. But nothing beats the feeling of hunting a record shop in a “new town”. It’s mandatory for me. I think I could plan a vacation based on record shops to visit.

Any highlights from your latest musical discoveries?

I’m going through this phase of finding 70’s rock that my father doesn’t know. So I can introduce him to it. It’s like a return gift for introducing me to a lot of music. I’ve been listening a lot to the Gandalf self titled LP, and “Caronte” by The Trip.

What's brewing in your studio?

Actually, Moullinex and I are in the process of changing for a new room. The pictures I took are from our new studio that is still to be completed and fully-working. But the last big thing we worked was our interpretation of “The Tempest”, a semi-opera by Purcell based on Shakespeare’s book with the same name. It was made for a play with all these great actors and five amazing singers. We’re presenting it in Paris in early April after a successful premiere in Lisbon.

Any production tips & tricks you'd like to share?

Trust your heart and ears. It's the best way to achieve uniqueness. Spend a lot of time trying to figure out how to do something before googling about it. Being clueless is the best way to start something. Protect your hearing if you play loud live – because, ears are the most important thing here. Oberheim DMX snare is an incredible power-giver to any dance-music gem. It can phat your track up either if you're doing hard or soft music. Try to do a track without using any compression in any track or bus. So great. “LOUD” can be cool, but can also be annoying. Everything is getting too loud nowadays.

Cosmic Kids

Moncef Belyamani — Mon, 22 Apr 2013 03:20:27 +0000

Who are you and what do you do? How long have you been working musicians?

We are Cosmic Kids. We've been best friends since high school, and we have been making music for the past 3 or 4 years; DJing for a bit more.

What is your educational background? Are there any schools, courses, or books you recommend?

Ron: We both have a varied background. I have a degree in Political Science and very little music training from school. Currently I am applying for a master's in Human Factors, it's like design and psychology. I did take a group piano class at a community college recently, I sort of got what I needed from there and got out. I think it is beneficial to have knowledge in something completely different than music. It can add to it in ways you would not even expect. Dan: I went to film school and got a BA in film and television production. Still do some post-production work on the side. I recommend that everyone take Mr. Fouts' astronomy course at Santa Monica College.

What hardware are you using?

We have a modest amount of hardware, but I think it's fun being limited. We have a JUNO 6, Korg Monotribe, Korg microKONTROL, various effects devices, Macintosh laptops, and an iPad. Ron: I like tinkering with hardware, and I like using my hands. I don't necessarily have a set idea on what I am trying to do; I just find a sound that I like, and sometimes I'll just give it to Dan and he will do wonders with it. The iPad is nice too because it allows me to manipulate things with my hands in an unorthodox fashion. For example, this app called Samplr allows you to manipulate pitch and linear movement in real time and record it. The aleatoric aspect of this can yield some interesting results.

What software are you using?

Dan: We use Logic Pro. I don't really know the inner workings of any other software because I've never taken the time to learn anything else. I feel like we are able to accomplish everything we want in there. It's definitely the most essential musical tool we own because I personally have never learned how to put music together without it, so I'd be lost for a bit if Logic disappeared from my life. We are big fans of SoundToys. We use Echo Boy, Filter Freak, and Pan Man in pretty much every track. Soundtoys are great because they really help give character to otherwise stale/dry sounds. I've been using a Korg Mono/Poly emulator, NI's FM8, and u-he's Ace. I just find that those have a lot of the types of sounds that I personally like. It would be super cool to have a real Mono/Poly, but right now I'm cool with the emulator. It's pretty efficient and I can stay pretty organized with it. Ron's been messing around with a DX7 emulator and some sampler software on his iPad and we've been getting some cool sounds from that as well.

What would be your dream setup?

Dan: Honestly, at this point, my dream set up would be in an actual studio, and not my apartment room. I've had neighbors get irritated with the noise a few too many times. I also want to get to a point where I'm more technically skilled with hardware, and as a musician. I feel like I'm still just figuring everything out as I go. As I said, an actual Mono/Poly would be great. I've also had fun messing around with a Roland SH-101; one of those would be cool too. It would also be great to have a session drummer and a guy who knows how to record drums like it was 1977 on staff. It would also be cool if they could read my mind. Ron: I remember when I was little my dad would play this cassette by new age artist Ray Lynch. The sounds were so weird to me, I just imagined all these smooth, white instruments making the sounds, like if Dieter Rams from Braun designed it. I guess that would visually be my dream setup, but I'm not sure how it would sound.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

It's definitely essential that we have a piece of musical inspiration to start us off. It's very difficult for us to start with nothing. That's what is great about doing a remix because there is already an idea there. If we are working on an original, we usually start off with a sample from an old record. Sometimes we may end up ditching the sample that sparked the track in the first place, but it's important for us to have something to work off of. We usually always lay down drums and bass first. We are, after all, making dance music, so it's important for us to establish a danceable groove before moving on to the melody. After that it's pretty much just trial an error until we find the melodies and sounds we like.

Where do you shop for and discover music?

Amoeba Music is really close to us, so we are there a lot. There are some other great little shops in and around Los Angeles that we love digging at. We also have a vast network of friends that like to share new and old music through Facebook and AIM.

Any highlights from your latest musical discoveries?

There is this Jose Marquez remix of "La Mezcla" by Totó La Momposina on Basic Finger Records that is amazing to play out. People always respond so well to it. I'm surprised it's not a bigger hit.

What's brewing in your studio?

We have an EP coming out this month on Let's Play House. The A-side track was a collaboration with Fingerpaint (Tyler from Classixx). It was pretty fun to get his input and guidance throughout the process of making the song.

Any production tips & tricks you'd like to share?

I find it really valuable and fun for us to try and recreate parts of tracks we are stumped by. You end up accidentally finding unique sounds of your own in the process.

Random Soul

Moncef Belyamani — Wed, 20 Mar 2013 04:56:32 +0000

Who are you and what do you do? How long have you been a working musician?

We are Yogi & Husky, also known as Random Soul. H – Hi, I’m Husky, DJ & Producer. I have been DJ’ing since 2001, and producing since 2007. I would still not classify myself as a musician, however I have been professionally DJ’ing since 2005. Y – Hey I’m Yogi and I am a DJ, Producer, Engineer and multi-instrumentalist. My first paid gig was when I was 15 in a covers band playing bass. From there I started doing musical theatre, singing and playing keyboards in bands too. Then went on to discover DJ’ing.

What is your educational background? Are there any schools, courses, or books you recommend?

Y - I studied piano when I was 8 or 9, doing a few classical grades. Also, I had a few vocal production lessons out of high school, after I discovered I actually had a voice. I also started a Bachelor of Arts (Music) at university that I have yet to complete. H – I have a bachelor of Business from the University Of Technology in Sydney. Not really music related, however I am glad to be able to use my business skills for the running of our record label and various other solo projects and companies.

What hardware are you using?

Y - Computer is a Mac Pro 2 x 2.66 GHz Dual-Core with 16 GB RAM, Soundcard is Avid’s Digi 002 and a TC Electronic PowerCore for extra DSP power. My outboard gear includes a Dangerous D-Box Summing Mixer, SSL G Series Compressor, Abbey Road Custom Edition, TL Audio 5052 Stereo Valve Processor, 2 x Focusrite Platinum Voicemaster Pro’s. Microphones are a Rode NT-2 and NT-3. My monitors Yamaha NS10’s with a Yamaha Subwoofer. But I also use a pair of Genelec 1029A’s and various consumer speakers when I’m mixing down. H – Mbox Mini and my Mac Pro from 2007, Plus a Novation Impulse keyboard. My dope Mackie HR824’s help to round out the studio.

What software are you using?

H – We are both on Pro Tools software with numerous plug-ins for synths and also compression, EQ and mastering tools. What we have chosen is what keeps our sound up there with the best. Unfortunately, a lot of this software and plugs are rather expensive, however we feel the money spent on studio gear always equates to a quality product when produced by professionals.

What is your favorite or most essential piece in your studio?

Y - Definitely the D-Box Summing Mixer. I was monitoring through the analog outs of the Digi002 for years. Then once I switched to monitoring through the digital out of the Digi002 through the D-Box D/A, my mix downs came to life. Along with the jump to class-a summing it’s given us a big desk sound with the efficiency and recallable mix from working in the box.

What would be your dream setup?

H – My dream set up would basically just involve a big open studio with loads of outboard synths to flick through sounds and patch them back into my rig. At the moment it’s all software for my studio, and I would love to expand to a private space where I can indulge in building my stock of sound banks!

Can you describe your creative process? Is there a particular routine or schedule you stick to?

H – We generally start tunes together with some basic loops and musical ideas put down by Yogi. Then I’ll take them away and work on the form of the song, adding loops, drums, and more instruments to create a track that closer resembles a finished piece. Then it’s back to Yogi’s to tie up any loose ends musically and then he mixes the tracks and cleans up all the levels and processing. This system seems to keep the workflow going pretty well for us and usually means we can pump things out in a shorter period of time and also have a few projects on the go.

Where do you shop for and discover music?

Y - Traxsource, Beatport & Stompy mainly. But also iTunes and CD stores. H – My main shopping sites are Traxsource, Beatport, Stompy and Juno Download. I also enjoy hitting record stores when traveling, however that is usually for records to listen to more than play these days.

Any highlights from your latest musical discoveries?

H – The last Commodores album I bought was dope. And an old Evelyn ‘Champagne’ King LP. Y - I am thoroughly enjoying the latest Kimbra album. Along with the latest from Frank Ocean and John Mayer.

What's brewing in your studio?

Y - At the moment it is just preparing the next lot of singles from our debut album, "Live For The Moment", final mix downs and mastering. So coming out straight after WMC is our jam with Joshua Heath called “Time To Funk”. Remixes from Jay Vegas, Joshua Heath and ourselves.

Any production tips & tricks you'd like to share?

Y - Listen, have fun, experiment and explore your music.

Robosonic

Moncef Belyamani — Mon, 18 Mar 2013 18:41:25 +0000

Who are you and what do you do? How long have you been a working musician?

Hello there! We’re Sacha and Cord, also known as Robosonic, from Berlin Kreuzberg. We’ve been working together as a DJ & producer team since about 2006.

What is your educational background? Are there any schools, courses, or books you recommend?

Sacha: I’ve taken cello lessons as a kid for 8 years or so, played in an orchestra and solo, all classical stuff. My sister is a pianist so that gave me a push — and I wanted to play music myself. In 2006 I studied music on a University level, it was called "Master of Acoustic Communication" at the Berlin University Of The Arts, with Karl Bartos — formerly part of Kraftwerk — as my professor. Of course all this was very valuable to me, but there are many other ways to get into music. Whichever background, education and possibilities you have, I think it‘s important to be open, stay interested, have fun and a hands-on approach towards music and its related fields like theory and so on; to be exposed to sound, production, DJing, playing an instrument, whatever aspect of music: you name it!    Cord: True that. I’ve had piano and guitar lessons when I was younger. In University I did various courses in musicology and finished social sciences with a research project about "DJ culture in digital revolution." It got published in a book and I also put it out for free. So if you ask me for a book to recommend, have a look at the synopsis or check the full text in German.

What hardware are you using?

Sacha: Each one of us has a project studio, and within that studio we both have small modern setups: PC workstations, MIDI controllers, keyboards, outboard instruments, drum machines, synthesizers, Technics turntables, CDJs, microphones, and field recorders. Cord: To name names: I like NI Maschine because I was working with an MPC2000XL more than ten years ago but I actually grew up with PC-based Graphic User Interfaces, so I never was so much into hardware sequencing. I use Maschine mostly for drum programming and sample workouts. Sacha has one too but he’s been a little reluctant to use it much so far because he thinks the software‘s a bit too complicated.   The Korg SV-1 is a beautiful instrument, if you like keys: it’s a proper piano experience and offers a bunch of classy, authentic sounds — but not too many to get lost. I'm trying out a Moog Little Phatty right now because I could not decide yet which analogue synth to buy. I’m into harmony so I’d like to have something polyphonic, but I’m also much into bass. So it’s alright for now. I play a Telecaster and a Stratocaster with an old Fender Tube Amp. I use Technics 1210 with a battle mixer for vinyl DJing and sampling the good old.  I know Sacha loves his Technics 1210’s and Allen & Heath mixer too, as well as his tiny MFB drum machine. Monte (Exploited / Jeudi) recently gave him a Roland JX-1, so be prepared for some 80s and 90s flavour, especially when his vintage Oberheim Matrix 6 gets an overhaul too. Sacha: And not to forget, I have ADAM P11 speakers and an ADAM Sub8 which I really love, hooked up to a Mackie Onyx 1620 mixer. Cord uses Mackie HR824 MK2 speakers. Beyerdynamic DT 990 PRO are the headphones of trust for both of us.

What software are you using?

Sacha: We’re using Ableton Live as our production software, sequencer, recording and sampling tool. It’s the most intuitive program we came across so far — and since we both work on the same projects and need to exchange them easily, we’ve been sticking to this alternative so far.

What would be your dream setup?

Cord: My ideal is a spacey laboratory where a fine selection of instruments is wired and ready to record. I lack a proper recording booth right now so that’s definitely part of it. I wish I’d have some room for just strange stuff to experiment with, because my setup is super functional and economic, which is also good to keep focus. I’m ready for some mulit-touch screen devices. Might get a tablet like iPad soon, because some friends develop great tools for controlling parameters and there are innovative instruments offered.    Sacha: Talking about dreams: I‘d love a 6 by 4 feet touchscreen, a Moog Voyager and a Funktion-One club PA for monitoring inside a super dry-sounding studio with a view on the ocean. Cord: Sweet, I hope we’re still neighbours then!

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Sacha: It’s pretty organic. Before producing, we often talk about ideas and what kind of a track we want to do. Mostly one of us starts a sketch, the other one continues working on it, and we bounce it back and forth until we finish it together. We then play it out in the club to get a crowd reaction and feel the sound. Then we go back to the studio and work on it some more, and play it out again — this can take several weeks or even months until we have a version we both like! Then we take it for a mixdown with our engineer Jesco Lohan on his analogue Venice desk for some extra pressure. We finish the final version together with him. In the end it only needs to be mastered, mostly by the label where we sign the track.

Where do you shop for and discover music?

Cord: Well, mostly digital these days. Of course we receive tons of promo material but it’s impossible to go through all of that — so we trust the people and labels we know. We buy our music in the usual stores, and sometimes support people on Bandcamp. Via Dropbox our friends and family deliver goods and when we dig something special we research a lot. There is still a lot to discover in our own collections — digital as well as vinyl records.   Sacha: Yes our vinyl collections have proven to be goldmines! For listening, sampling, DJing. The biggest part of my vinyls dates from 1995 to 2000, so whenever I listen to those records it’s like a window into my musical past. I get nostalgic about it! And I know Cord does too when he digs out his old records.

Any highlights from your latest musical discoveries?

Cord: Aside from the dance music we regularly play in clubs and our podcasts, there is a lot to enjoy. I fell in love with a few Nils Frahm recordings recently, and Lapalux and Shlohmo do great in a certain field. Bohren und der Club of Gore — from the area where I grew up — probably is the slowest and darkest jazz band on earth. I’m also into New Orleans music since I’ve seen the American TV series "Treme." I also have an eye on Rap music but I most passionately listen to artists I follow for years.    Sacha: I’m re-discovering the music I own on vinyl, this has probably been the biggest highlight for me.

What's brewing in your studio?

Sacha: We started writing a second album. We‘ll try to keep the same open-minded approach as for our debut album "Sturm und Drang" (self-released in 2007) but these days we work on a different level! We‘re planning to include guests we both love and make some fresh music that would not necessarily fit into the format of a House or Techno single.    Cord: Regarding particular sounds — "Feldrecord im Zirkus" for example consists mostly of field recordings once made in the Bar25, where our friend Laura Weider played a solo piano for 40 hours, which became an official Guiness World Record. The production technique was pretty much the same as with all sample material but extra fun, because it is connected with certain people, a place and a sweet story.

Any production tips & tricks you'd like to share?

Sacha: Learning by doing always helps. Checking out how others produce their music is very helpful too! Loving what you do and having fun with it is probably the most important component.

Pablo Bolivar

Moncef Belyamani — Sun, 17 Mar 2013 01:55:11 +0000

Who are you and what do you do? How long have you been a working musician?

I am a music addict, working 10 hours per day, and just for the music. I've been doing this for almost 15 years, and now, I'm focused on my productions Avantroots Records and Pulshar.

What is your educational background? Are there any schools, courses, or books you recommend?

I finished Sound Engineering school in 2001, then I was working in live sound for some years, but it was pretty hard, and I decided to create my own record shop in Santander, my home land. After that, I moved to Barcelona and began working with Decoder Muzique, one of the main Spanish electronic music distributors.

What hardware are you using?

These days, I'm using a lovely couple of Dynaudio BM12a monitors. You know what I mean when I say "lovely," this is pure quality. For me, Dynaudio is the top. The Laboratory of Arturia: a hybrid synthesizer that works really nice, with a powerful sound. Yamaha DX7-IId: I was looking for it for a long time, and I bought it with extension cartridges. Pure 80´s, in the mood of [Jean-Michel] Jarre or [Brian] Eno's first works. I love this digital sound! Access Virus C: It's a monster, the bass presets are awesome, also the pads, a bit trancey, but if you touch the sound you will find what you want. MOTU Mk3 sound card: When you say "Motu", it's like saying "Ferrari." Clean sound and a great dynamics control panel. Imagine the Motu working together with the Dynaudio monitors ;) The Alesis Sample Pad: A drum pad with the possibility of loading your own samples. Real drum flavour. TC Electronic M350 multi effects processor: it's nice work with a solid delay, reverb, and compression. Sony MDR-7506 and AKG K619 headphones to have a clean or bassy response. t.bone SC 450 microphone for voices. All this hardware is mixed with a Mackie 1642 analog mixer. Mackie is always like a military tank, I've never been disappointed with it. For DJ'ing I have a Pioneer DJM-600, 2 Technics SL-1200 MKII, M-Audio BX5 monitors, and the SoundBITE XL looper.

What software are you using?

At the studio, I have Mac and PC, always working with Ableton Live. I'm testing Live 9 these days; I am in love with Ableton, thanks guys! I don't use plugins so much; my main virtual instrument is the Arturia Experience bundle, with all those analog oldies. I'm in love with the Prophets, Jupiter 8v, and of course, the Moog. For drums, I work with Ableton´s Drum Rack and my collection of Drum Machines Samples. If you do a proper EQ you will have solid sound for sure. I am using Waves for efx and dynamics, and the Lexicon reverb sits in my productions as well. Sometimes I work with Omnisphere; really dangerous, you can get lost in that sound ;)

What would be your dream setup?

I am dreaming about a Moog Voyager or a Prophet '08, and a Tempest drum machine can be good too. If you decide to send me a gift, one of those can work for me ;)

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I don't have a routine, it depends what I'm looking for. Sometimes I start playing a melody, other times I can start with the drums or with a sample. For example, for Pulshar productions we start with a sample, but at some point in the creative process, that sample is gone; it depends on the composition. For melodic works, the drums is the last part I add to the song.

Where do you shop for and discover music?

As a vinyl lover I used to go to the shops in town; Discos Paradiso is my favourite one. I use to buy at Decks as well. I receive a lot of promos that I listen to in my free time, but believe me, too much stuff to take care of it all. I love podcasts, it's the main stuff in my iPod.

Any highlights from your latest musical discoveries?

Well, actually I'm in love with Scissor & Thread label from Brooklyn. These guys are working really nice; I love most of their releases. Also Atjazz is on my top again, much respect.

What's brewing in your studio?

I have my new album almost finished. It was a lot of hard work, and I wanted to do something special for the final mixing. It will be a Deep House journey with excellent collaborations. At the same time, I'm working on Pulshar's next releases and Maurice Aymard's album. I think all these projects will be out this 2013.

Any production tips & tricks you'd like to share?

Just believe in your work, and work with a good monitor system. Feel free to experiment with the sounds, it's free and healthy!

Round Table Knights

Moncef Belyamani — Thu, 07 Feb 2013 04:13:40 +0000

Who are you and what do you do? How long have you been a working musician?

My name is Benjamin Fay. I am a music producer (known as Benfay) and I am working as a member of the Round Table Knights since 2008.

What is your educational background? Are there any schools, courses, or books you recommend?

I am a trained musician. I studied double bass and composition at the College of Music in Bern. Next to playing in orchestras, small ensembles and jazz bands, I started creating electronic music in my bedroom studio already during my time at the college. My first synth was a Yamaha DX-7 and I owned an Atari with Cubase 1.0. Books: I recommend Mastering Audio: The Art and the Science by Bob Katz. I visit gearslutz.com a lot.

What hardware are you using?

I use mainly hardware synths by Moog, Nord, Access Virus, Doepfer Modular, Dave Smith, Elektron. I still use an Akai MPC, have some filters by Sherman and own a Tape Delay by Roland. I have set up my studio so that I can switch easily between producing and final processing. I am able to record every sound source at once through an ADC M-32 into a RayDAT (both RME). In the final process the mix is done outside the box. My DACs are two Egrets by Crane Song. I run the buses through several compressors (GEM Audio Preceptor, dbx 160SL, API 525, Drawmer, UBK Fatso) and EQs (API 550b, Little Labs VOG), and record the 2-track mix into a Burl Bomber B2 ADC. My monitor controller is an Avocet by Crane Song. Speakers are Adam S2.5a with an Adam SUB. I also use several small speakers driven by a Mytek DAC. I like gear with an attitude and I especially like the products by Crane Song because they are just amazing. What else can I say. Thank you Dave!

What software are you using?

I use Ableton Live on my PowerBook on the road or at home. It's a great program that I use on stage as well. I got myself a CNTRL:R by Livid Instruments, which allows to produce or play live without limitation due to the programmable interface in conjuction with Max for Live. At the studio I use an older and very stable version of Cubase running on a self built DAW Win32 computer. I don't like Windows, but I get native support with the RME Digicheck, which is essential. Most of the internal sound processing is done on external DSPs such as SSL Duende and UAD. I don't have so many plugins. I want to know each plugin inside out. That gives me way more power, than always buying the latest stuff, not knowing what to do with it.

What would be your dream setup?

My dream setup? I think I have it! On top of it my studio (see photos below) is located outside Bern on the countryside. So I get free workout cycling there every day. What more do I want? Mhhh… I might would like to expand my modular synth with many more modules, maybe get a second lunchbox from API and maybe an Eventide H9?

Can you describe your creative process? Is there a particular routine or schedule you stick to?

There is no routine to producing. It can be that I create a new beat or a song on the road, at home in my kitchen or start working on something new at the studio. There is always a point when I will switch to the studio, because of the hardware synths that offer more attitude and bite than the plugins. Marc and Chris (the two faces of Round Table Knights) will often bring their ideas, samples and sometimes advanced tracks, that still need final arranging and mixing. In the studio we spend a lot of time on automation of volumes, additional sounds and effects in breaks and throughout the track. This is very important to give it natural feel. There is a lot of industrious work involved in making a song really stand out.

Where do you shop for and discover music?

I am really no digger. I listen to classical music a lot. Fortunately we keep a Round Table Knights Dropbox were Marc and Chris drop all their recent discoveries. That keeps me up to date. I must also say, that I really enjoy the quiet and often don't listen to music at all.

Any highlights from your latest musical discoveries?

I really like the new song from David Bowie, "Where Are We Now". I recently rediscovered the album "Closer" by Plastikman who I really like.

What's brewing in your studio?

We just finished a new EP "So Good" for OFF Recordings which is out this week. Also, we have a new EP coming out on Exploited Records in April. There are also some other projects we're working on, but it's a bit too early to talk about it. Sorry!

Any production tips & tricks you'd like to share?

Keep attention to the tuning and the time domain of the sounds. While I compose I try to already have an idea were I want to place a sound in the final piece. That means we're in time and space as well as in its frequency dependency relating to the tonal centre of the composition. Personally I see a great challenge finding a good balance between being spontaneously wild and knowing what I want.

Dominic Martin

Moncef Belyamani — Sun, 27 Jan 2013 21:49:40 +0000

Who are you and what do you do? How long have you been a working musician?

I'm Dominic Martin. I’m a music producer and DJ living in Glasgow, Scotland. I started out making music back in 1999, finally releasing my first vinyl in 2003. I’ve been doing this full-time since 2007.

What is your educational background? Are there any schools, courses, or books you recommend?

I’m pretty much self-educated as I really haven’t had any so-called proper musical education. My proper education as such was focused more on business and languages, so anything I’ve learned has been achieved by trial and error over the years. When I was starting out, there was no internet - so no tutorial vids or anything like that. What you had to do back then was: a) find someone who had the same bit of hardware as you b) basically go to their studio and ask them questions or get them to come round to yours and show you how to work the kit in question. I was fortunate because I had access to some prominent producers across a range of dance music, and by hanging with them and picking their brains I began to learn. I also read Sound on Sound and Future Music - although the terminology really did feel alien to me at that time but it gave me an idea of the gear that the pros used and something to aim for. One of the things that is great about making music today is that there's a plethora of information out there, be it online or hard copy, unlike the old days you don't have to delve too far. In terms of recommendations, online schools like Point Blank and Sonic Academy are really useful, particularly their genre-specific courses. A couple of years ago I decided to kinda go back to school - i.e. get some formal teaching in the areas where I had never really learned at all and I took a couple of courses at Point Blank which I found to be really handy. Their courses are not cheap, but regardless of your level, I guarantee you'll learn something and would definitely recommend them.

What hardware are you using?

At the moment, I’m using a 2010 Mac Pro quad-core with FW810 audio interface. I have Tannoy Reveal monitor speakers, a Mackie Onyx 1620 Desk and an Akai MPK49 controller keyboard. The advances in technology mean that you can now do almost everything on your computer, so for me hardware has kinda faded away from my setup over the last few years. Years ago you'd have needed racks of gear costing thousands to do essentially simple things that you can now do with the bundled software in your DAW. For example the first Akai sampler I ever had boasted a massive 6 seconds of sample time, which at the time was mega. Now you could sample entire movies for days on end and it probably wouldn't make a dent in your hard drive. Also, with many of the classic synths now being available digitally, it makes it much more appealing to mostly stay in the box. A good example of this is the classic Korg M1 - such a desirable synth when I started out, but with a prohibitive cost, roughly £1200. Now you can get the digital version for 40 euros which takes up no space except on your hard drive. Go figure… I have Native Instruments Maschine which has been a game-changer for me. It’s the perfect marriage of hardware and software. I tend to start projects in standalone mode - get a vibe going - and then do a wee bit of EQing and arrangement and tweaking before dumping the sections into the DAW for EQ and finishing. The bundled content and expansion packs are excellent and it really is a good starting point. It's difficult to compose a full track from start to finish in there - the EQ and visualisation options are lacking but in terms of workflow, Maschine is outstanding.

What software are you using?

I use Logic Pro at the moment. I’ve used all of them during the years, from a shonky version of Cubase on an old PC, Reason, Ableton, I've tried them all but I always end up back at Logic, where I'm most comfortable.

Do you have any specific plugins that you use a lot?

Yeah loads! I use Rob Papen SubBoom Bass, Lennar Digital Sylenth, AudioRealism Bass Line Pro - analogue sounds with real character; NI Massive for wobble basses and screaming leads, Korg M1 - original oldskool M1 presets!; Sugar Bytes Artillery and Effectrix - great for DJ-style and mangling effects; Schwa schOPE - a great tool for real-time visualisation. Other manufacturers I like and use are Ohm, AudioDamage, Fabfilter, Sonalksis, Waves, Izotope, Camel.

For your sounds, do you use mostly soft synths or hardware?

I use mostly soft synths. As discussed earlier, hardware would be lovely but I don't have the space! Nowadays soft synths can really emulate their analogue predecessors plus you have all the additional benefits of digital.

What would be your dream setup?

Hard to say as you can get so much more these days with minimal equipment. I'd probably add in some old school monitoring like Yamaha NS10s and the old Genelec 1030s, and maybe a vocal booth. Plus as a pure indulgence it would be nice to have a few old Moogs to call upon.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

First up, caffeine fuels beats. Before you make a noise, make a cup of coffee, or even better go out and buy a cup of coffee - preferably gourmet shit. Fresh air and coffee is a potent combo. Once you've done this and dealt with any emails or annoying routine stuff that'll bug you during the day, you're good to go. It's about clearing the mind! I almost always start with the drums, get a vibe going then start layering stuff - bass, keys, vocals, samples, whatever the vibe is that particular day, see where it takes me. Once I'm happy with the vibe, I'll start thinking about mixing and arrangement . I'll do mini-scenes in Maschine to give me a feel for how I'm going to build the track, certain sections etc. I take a break after I’ve been working on something for a while just so I can come back to it with fresh ears. This is good to do as you can pick things out straightaway that need fixing.

Where do you shop for and discover music?

It's a mixture of promos I get sent from labels and people I know - other DJs sending me new tracks plus the usual suspects such as soundcloud, juno, beatport, whatpeopleplay etc. I check out loads of DJ mixes to see what other people are playing, this is a good way to get a feel for what tracks are doing the damage across the globe.

Any highlights from your latest musical discoveries?

So many! Every day there's a new discovery, someone I come across that I've never heard of before that is making incredible music - that's the upside of the internet!

What's brewing in your studio?

I'm working on a remix for Glasgow Underground which will be coming out shortly. I'm also working on a bunch of new original tracks for 3 different labels which should see the light of day early in 2013 so it's a busy time, as always!

Any production tips & tricks you'd like to share?

Yeah, listen to other styles of music outwith the style you're trying to create, take influences from this and integrate it into your productions, this will help you to sound a bit different from anyone else. It's an easy trap to fall into but try to avoid following trends and chasing a sound - we've all made that mistake at some point. Also, never think you're done learning, there is always something more to learn.

Robi Insinna (Headman)

Moncef Belyamani — Fri, 11 Jan 2013 08:58:33 +0000

Who are you and what do you do? How long have you been a working musician?

I'm Robi Insinna and I produce under the names Headman, Manhead, International, and my real name. I have been producing music since the late 90's.

What is your educational background? Are there any schools, courses, or books you recommend?

I have an Art background. I studied Fine Art. How Music Works by David Byrne could help.

What hardware are you using?

These days I use mainly synths, external pedal effects, and some drum machines. I like to use the best of both worlds. Generate most of the sounds analog, and then process in the box. I'm not a purist. I think there's no limits for creativity. So for me, you can do good things with everything. The better the equipment, the sound might improve, but not the creativity. One piece of instrument I use quite a bit is a sequencer which my studio engineer built. On my recent productions, you can hear loads of arpeggios. I'm also very into playing the arpeggios live on my Jupiter-6.

What software are you using?

Logic 9.

What would be your dream setup?

I'm pretty happy with my setup. Loads of plugins are being developed all the time. Summing was always a big issue for me. But now there are even summing plugs.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I start with an idea. It can be just the drums or a melody. Normally, I start laying down the drums, then the bass and then the rest on top.

Where do you shop for and discover music?

Everywhere, loads on the net. I also get sent loads of music, which is hard to stay behind, as I could just sit in front of my computer and download music all the time. I also go to record stores sometimes, and buy vinyl. It's an unbeatable way of finding and appreciating music in a special way.

Any highlights from your latest musical discoveries?

There is loads of interesting music out there. I still try to discover old music, which I missed in the past. These are the new producers I think are great: Daniel Avery, Scott Fraser, Remain, Tim J Fairplay, DC Salas, Daniel Maloso and so on.

What's brewing in your studio?

I'm working on album tracks, this time it will be loads of collaborations. Normally I start a track and send it out to the producer. Sometimes if it happens, we work together in my studio. There are loads of demos. I just remixed DixLexSix from I'm a Cliché. I'm trying to be very minimal in my production and not overdo things. I'm trying also not to overdo reverbs, but still want to have loads of room in my mixes.

Any production tips & tricks you'd like to share?

I like to trust my ears the most and not rely on any mastering people. I try to mix the tracks, so that the mastering guys don't need to do much.